I think, looking back at my body of work, it’s partly about exploring the history and philosophy of humanity, discovering meaning in the things we do and the objects we create, and finding the essence of what drives us to individually or collectively produce a body of work for the next generation of people to deal or contend with. I believe this holds true for any kind of socio-economic, political, or cultural work we do, including painting.
But subject aside, my work is also about exploring the tradition of painting, how I’m interested in the dynamics of how style creates tension in the materials artists work with -- in my practice, in paint itself -- and the many different ways this has played out throughout its history, and how that effect breaks the flat surface of the canvas.
It is interesting how a primitive and very basic practice such as mark making is still very much relevant in today’s technologically developed world and how all this somehow conveys meaning to the viewer — that a meaning emerges beyond the intention of the artist or the sum of qualities of the painting itself, a profundity that unfolds across communities and their diverse cultures, and how this further reverberates across societies and many future generations ahead.
This is what I believe we ultimately celebrate in the tradition of painting.